Paris
represents
a studious man, who, in the silence of solitude,
seeks the supreme good.
seeks the supreme good.
Camoes - Lusiades
By a subsequent note it
will appear that the safety of the Armada depended upon this
circumstance.
[129] Venus.
[130] As the planet of Jupiter is in the sixth heaven, the author has
with propriety there placed the throne of that god. --CASTERA.
[131] "I am aware of the objection, that this passage is by no means
applicable to the celestial Venus. I answer once for all, that the names
and adventures of the pagan divinities are so blended and uncertain in
mythology, that a poet is at great liberty to adapt them to his allegory
as he pleases. Even the fables, which may appear as profane, even these
contain historical, physical, and moral truths, which fully atone for
the seeming licentiousness of the letter. I could prove this in many
instances, but let the present suffice. Paris, son of Priam, king of
Troy, spent his first years as a shepherd in the country. At this time
Juno, Minerva, and Venus disputed for the apple of gold, which was
destined to be given to the most beautiful goddess. They consented that
Paris should be their judge. His equity claimed this honour. He saw them
all naked. Juno promised him riches, Minerva the sciences, but he
decided in favour of Venus, who promised him the possession of the most
beautiful woman. What a ray of light is contained in this philosophical
fable!
Paris represents a studious man, who, in the silence of solitude,
seeks the supreme good. Juno is the emblem of riches and dignities;
Minerva, that of the sciences purely human; Venus is that of religion,
which contains the sciences both human and divine; the charming female,
which she promises to the Trojan shepherd, is that divine wisdom which
gives tranquillity of heart. A judge so philosophical as Paris would not
hesitate a moment to whom to give the apple of gold. "--CASTERA.
[132] "The allegory of Camoens is here obvious. If Acteon, and the
slaves of their violent passions, could discover the beauties of true
religion, they would be astonished and reclaimed: according to the
expression of Seneca, 'Si virtus cerni posset oculis corporeis, omnes ad
amorem suum pelliceret. '"--CASTERA.
[133] "That is Divine love, which always accompanies religion. Behold
how our author insinuates the excellence of his moral! "--CASTERA.
As the French translator has acknowledged, there is no doubt but several
readers will be apt to decry this allegorical interpretation of the
machinery of Camoens. Indeed there is nothing more easy than to discover
a system of allegory in the simplest narrative. The reign of Henry VIII.
is as susceptible of it as any fable in the heathen mythology. Nay,
perhaps, more so. Under the names of Henry, More, Wolsey, Cromwell,
Pole, Cranmer, etc.
will appear that the safety of the Armada depended upon this
circumstance.
[129] Venus.
[130] As the planet of Jupiter is in the sixth heaven, the author has
with propriety there placed the throne of that god. --CASTERA.
[131] "I am aware of the objection, that this passage is by no means
applicable to the celestial Venus. I answer once for all, that the names
and adventures of the pagan divinities are so blended and uncertain in
mythology, that a poet is at great liberty to adapt them to his allegory
as he pleases. Even the fables, which may appear as profane, even these
contain historical, physical, and moral truths, which fully atone for
the seeming licentiousness of the letter. I could prove this in many
instances, but let the present suffice. Paris, son of Priam, king of
Troy, spent his first years as a shepherd in the country. At this time
Juno, Minerva, and Venus disputed for the apple of gold, which was
destined to be given to the most beautiful goddess. They consented that
Paris should be their judge. His equity claimed this honour. He saw them
all naked. Juno promised him riches, Minerva the sciences, but he
decided in favour of Venus, who promised him the possession of the most
beautiful woman. What a ray of light is contained in this philosophical
fable!
Paris represents a studious man, who, in the silence of solitude,
seeks the supreme good. Juno is the emblem of riches and dignities;
Minerva, that of the sciences purely human; Venus is that of religion,
which contains the sciences both human and divine; the charming female,
which she promises to the Trojan shepherd, is that divine wisdom which
gives tranquillity of heart. A judge so philosophical as Paris would not
hesitate a moment to whom to give the apple of gold. "--CASTERA.
[132] "The allegory of Camoens is here obvious. If Acteon, and the
slaves of their violent passions, could discover the beauties of true
religion, they would be astonished and reclaimed: according to the
expression of Seneca, 'Si virtus cerni posset oculis corporeis, omnes ad
amorem suum pelliceret. '"--CASTERA.
[133] "That is Divine love, which always accompanies religion. Behold
how our author insinuates the excellence of his moral! "--CASTERA.
As the French translator has acknowledged, there is no doubt but several
readers will be apt to decry this allegorical interpretation of the
machinery of Camoens. Indeed there is nothing more easy than to discover
a system of allegory in the simplest narrative. The reign of Henry VIII.
is as susceptible of it as any fable in the heathen mythology. Nay,
perhaps, more so. Under the names of Henry, More, Wolsey, Cromwell,
Pole, Cranmer, etc.
